The last pages of the novel, dedicated to the death of the main character, are the most important.
According to D.I. Pisarev: “The whole interest, the whole meaning of the novel lies in the death of Bazarov... The description of Bazarov’s death is the best place in Turgenev’s novel; I even doubt that in all the works of our artist there would be anything more remarkable.”
Turgenev recalls: “I was walking one day and thinking about death. Following this, a picture of a dying man appeared in front of me. It was Bazarov. The scene made a strong impression on me, and then the rest of the characters and the action itself began to develop.”
When starting to analyze the image of Bazarov in the final scene, one should understand three questions:
1. Why does Turgenev end Bazarov’s life this way? (“A figure... doomed to destruction.” Here it is appropriate to recall Turgenev’s views on nature and the relationship between man and nature, as well as his attitude to the revolution, to revolutionary destruction and violence.)
2. How does the writer show the hero at the moment of death? (“When I wrote the final lines of “Fathers and Sons,” I was forced to tilt my head so that tears would not fall on the manuscript,” the author wrote. In the last scenes, Turgenev loves Bazarov and shows him worthy of admiration.)
3. How does Turgenev lead his hero to death?
The work in the lesson takes place mainly on the material of Chapter XXVII, but with reference to the previous chapters.
Questions and tasks for conversation
1. Why does Turgenev lead the hero to death? How does this reflect the writer's views?
2. How does Bazarov’s loneliness grow in the clash with the surrounding heroes? Why can’t there be understanding with the “fathers”? Why does Arkady “leave”? Why is love with Odintsova impossible?
3. What is Bazarov’s relationship with the people, the strength that the hero feels, for whom he is ready to sacrifice himself? Compare the relations of the servants in Maryino and the relations of the men on Bazarov’s estate. Describe the episode “Conversation with the Men”, noting the “playing along” of the men to the master. What do we first notice in Bazarov’s character after talking with the men?
4. Observing Bazarov’s behavior, observe how the feeling of loneliness manifests itself in him.
5. What is the cause of the hero’s death and its symbolic meaning? How does Bazarov behave? Why does he hide his condition from his parents? How do you feel about death and how do you fight illness?
6. Why does the hero refuse confession, knowing that he will die anyway? Why, at the same time, remaining true to his convictions, does he ask to call Odintsova? Why, before his death, does Bazarov speak so beautifully as he never spoke, that is, betrays his principles?
7. What is the symbolic meaning of Bazarov’s death? What does the description of the cemetery with Bazarov’s grave symbolize?
8. Why does Turgenev, on the last page of the novel, call nature “indifferent” and life “endless”?
Lesson summary. In the face of death in Bazarov, everything external and superficial disappeared and the most important thing remained: an integral, convinced nature, capable of a wonderful feeling, of a poetic perception of the world. However, the death of the hero reflected Turgenev’s disbelief in the young revolutionary generation. Among the writer's friends there were many revolutionary democrats. It is no coincidence that the novel is dedicated to V. Belinsky. But being a liberal by conviction, Turgenev did not welcome a violent solution to the problems of the time. Therefore, no matter how strong Bazarov is, he is still doomed to death.
Lessons 107-108*. “Who is dearer to you: fathers or children?”
Controversy in criticism surrounding the novel "Fathers and Sons". Preparing for your home essay.
Turgenev's ambivalent attitude towards the main character of the novel brought reproaches from his contemporaries to the writer. They also scolded Bazarov.
The final lesson can be conducted in the form of a debate.
Group 1 represents the view of the writer himself, who was able to correctly sense the emerging new type of hero, but did not take his side. The group analyzes the statements of Turgenev himself and draws a conclusion about his attitude towards Bazarov:
- “Did I want to scold Bazarov or praise him? I don’t know this myself, because I don’t know whether I love him or hate him!”
- “My whole story is directed against the nobility as an advanced class.”
- “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society... When I returned to St. Petersburg, on the very day of the famous fires of the Apraksinsky courtyard, the word “nihilist” had already been picked up thousands of voices, and the first exclamation that came out of the mouth of the first acquaintance I met on Nevsky was: “Look what your nihilists are doing!” They are burning Petersburg!’”
- “...I had no right to give our reactionary bastard the opportunity to grab onto a nickname - a name; the writer in me had to make this sacrifice for the citizen.”
- “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction because it still stands on the threshold of the future - I dreamed of some strange pendant to Pugachev.”
Conclusion. Turgenev shows Bazarov in a contradictory way, but he does not seek to debunk him or destroy him.
Group 2 considers the position of M. N. Katkov, editor of the magazine “Russian Messenger” (articles “Turgenev’s novel and his critics”, “About our nihilism (regarding Turgenev’s novel)”).
- “How ashamed Turgenev was to lower the flag in front of the radical and salute him as before an honored warrior” (from the story of P. V. Annenkov about Katkov’s reaction).
- “If Bazarov is not elevated to apotheosis, then one cannot help but admit that he somehow accidentally ended up on a very high pedestal. It really overwhelms everything around it. Everything in front of him is either rags or weak and green. Is this the kind of impression you should have wanted?” (from Katkov’s letter to Turgenev).
Conclusion. Katkov denies nihilism, considering it a disease that needs to be fought, but notes that Turgenev puts Bazarov above everyone else.
Group 3 studies the views of F. M. Dostoevsky on Turgenev’s novel. (Letter from Dostoevsky, 1862.) According to Dostoevsky, Bazarov is a “theorist” who is at odds with life, a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering Bazarov's theory, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory breaks down in reality. Dostoevsky does not talk about the reasons that give rise to these theories. Tenth-graders can also get acquainted with fragments of K. I. Tyunkin’s monograph “Bazarov through the eyes of Dostoevsky (1971).
Group 4 highlights the position of M.A. Antonovich (articles “Asmodeus of our time”, “Mistakes”, “False realists”). This is a very harsh position that denies the social significance and artistic value of the novel. The critic writes that in the novel “there is not a single living person or living soul, but all are only abstract ideas and different directions, personified and called by proper names.” The author is not friendly towards the younger generation, “he gives complete preference to fathers and always tries to elevate them at the expense of the children.” Bazarov, according to Antonovich, is “a glutton, a chatterbox, a cynic, a drunkard, a braggart, a pathetic caricature of youth, and the whole novel is slander against the younger generation.” Antonovich’s position was supported by Iskra and some employees of Russian Word.
Group 5 talks about the view of the novel by the poet and employee of the Russian Word D. D. Minaev, analyzes his poem “Fathers or Sons? Parallel...", emphasizes the irony of Minaev in the confrontation between "fathers" and "children".
Group 6 examines the novel in the assessment of D.I. Pisarev (articles “Bazarov”, “An Unresolved Question”, “A Walk through the Gardens of Russian Literature”, “Let's See!”, “New Type”), who gives the most detailed analysis of the novel. He writes: “Turgenev does not like merciless denial, and yet the personality of the merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev is prone to idealism, and yet none of the idealists depicted in his novel can compare with Bazarov either in strength of mind or strength of character.”
Pisarev explains the positive meaning of the main character, emphasizes the vital importance of Bazarov; analyzes his connections with other heroes, determines their attitude to the camps of “fathers” and “sons”; proves that nihilism got its start precisely on Russian soil. The debate about the novel continues because the author followed the words of Botkin: “Don’t be afraid to open your soul and stand face to face with the reader.”
To prepare essays, we can recommend that students get acquainted with the assessments of critics, both contemporary to Turgenev (N. N. Strakhov, A. I. Herzen) and literary scholars of the 20th century (S. M. Petrov, V. M. Markovich, A. I. Batyuto, G. A. Byaly, M. Eremin, P. G. Pustovoit, Y. Mann).
Summary of lessons. Turgenev once said: “Only the present, powerfully expressed by characters or talents, becomes the undying past.” The ongoing controversy surrounding the novel is the best proof of these words. The controversy is caused by the fact that Bazarov was viewed as a kind of typical figure, as a scheme, divorced from life, and not as a person with his own problems and experiences. They tried to make him fit the time and scolded him if he did not fit into the frames allotted to him.
After studying the novel, it is possible to do a home essay or test.
The ideas of nihilism have no future;
It may be late, but the hero’s insight, awakening: human nature prevails over an erroneous idea;
Bazarov strives not to show his suffering, to console his parents, to prevent them from seeking solace in religion.
The mention of Sitnikov and Kukshina is a confirmation of the absurdity of the ideas of nihilism and its doom;
The life of Nikolai Petrovich and Arkady is an idyll of family happiness, far from public disputes (a variant of the noble path in the future Russia);
The fate of Pavel Petrovich – the result of a life ruined by empty love affairs (without family, without love, far from the Motherland);
Odintsova’s fate is a version of an accomplished life: the heroine marries a man who is one of the future public figures of Russia;
The description of Bazarov’s grave is a declaration of the eternity of nature and life, the temporality of empty social theories that claim eternity, the futility of the human desire to know and change the world, the greatness of nature in comparison with the vanity of human life.
Evgeny Vasilievich Bazarov- the main character of the novel. Initially, the reader only knows about him that he is a medical student who came to the village on vacation. First, Bazarov visits the family of his friend Arkady Kirsanov, then goes with him to the provincial town, where he meets Anna Sergeevna Odintsova, lives for some time in her estate, but after an unsuccessful declaration of love, he is forced to leave and finally ends up in his parents’ house, where I was headed from the very beginning. He doesn’t live long at his parents’ estate; longing drives him away and forces him to repeat the same route again. In the end it turns out that there is no place for him anywhere. Bazarov returns home again and soon dies.
The basis of the hero’s actions and behavior is his commitment to ideas nihilism. Bazarov calls himself a “nihilist” (from the Latin nihil, nothing), i.e. a person who “recognizes nothing, respects nothing, treats everything from a critical point of view, does not bow to any authorities, does not accept a single principle on faith, no matter how respected this principle may be.” He categorically denies the values of the old world: its aesthetics, social structure, the laws of life of the aristocracy; love, poetry, music, the beauty of nature, family ties, such moral categories as duty, right, obligation. Bazarov acts as a merciless opponent of traditional humanism: in the eyes of the “nihilist,” humanistic culture turns out to be a refuge for the weak and timid, creating beautiful illusions that can serve as their justification. The “nihilist” opposes the humanistic ideals with the truths of natural science, which affirm the cruel logic of life-struggle.
Bazarov is shown outside the circle of like-minded people, outside the sphere of practical affairs. Turgenev speaks of Bazarov’s readiness to act in the spirit of his democratic convictions - that is, to destroy in order to clear a place for those who will build. But the author does not give him the opportunity to act, because, from his point of view, Russia does not yet need such actions.
Bazarov fights against old religious, aesthetic and patriarchal ideas, mercilessly ridicules the romantic deification of nature, art and love. He affirms positive values only in relation to the natural sciences, based on the conviction that man is a “worker” in the workshop of nature. A person appears to Bazarov as a kind of bodily organism and nothing more. According to Bazarov, society is to blame for the moral shortcomings of individual people. With the correct structure of society, all moral diseases will disappear. Art for a hero is a perversion, nonsense.
Bazarov's test of love for Odintsova. Bazarov also considers the spiritual sophistication of love to be “romantic nonsense.” The story about Pavel Petrovich's love for Princess R. is not introduced into the novel as an inserted episode. He is a warning to the arrogant Bazarov
In a love conflict, Bazarov’s beliefs are tested for strength, and it turns out that they are imperfect and cannot be accepted as absolute. Now Bazarov’s soul is split into two halves - on the one hand, we see the denial of the spiritual foundations of love, on the other hand, the ability to love passionately and spiritually. Cynicism is being replaced by a deeper understanding of human relationships. A rationalist who denies the power of true love, Bazarov is overwhelmed by passion for a woman who is alien to him both in social status and in character, so overwhelmed that failure plunges him into a state of depression and melancholy. Rejected, he won a moral victory over a selfish woman from the noble circle. When he sees the complete hopelessness of his love, nothing causes him to make love complaints and requests. He painfully feels the loss, goes to his parents in the hope of being healed of love, but before his death he says goodbye to Odintsova as to the beauty of life itself, calling love the “form” of human existence.
The nihilist Bazarov is capable of truly great and selfless love; he amazes us with its depth and seriousness, passionate intensity, integrity and strength of heartfelt feeling. In a love conflict, he looks like a large, strong personality, capable of real feelings for a woman.
Bazarov and Pavel Petrovich Kirsanov. Pavel Petrovich Kirsanov is an aristocrat, an Anglomaniac, and liberal. Essentially the same doctrinaire as Bazarov. The very first difficulty - unrequited love - made Pavel Petrovich incapable of anything. A brilliant career and social success are interrupted by tragic love, and then the hero finds a way out in abandoning hopes for happiness and in fulfilling his moral and civic duty. Pavel Petrovich moves to the village, where he tries to help his brother in his economic reforms and advocates for liberal government reforms. Aristocratism, according to the hero, is not a class privilege, but a high social mission of a certain circle of people, a duty to society. An aristocrat must be a natural supporter of freedom and humanity.
Pavel Petrovich appears in the novel as a convinced and honest man. but clearly limited. Turgenev shows that his ideals are hopelessly far from reality, and his life position does not even provide him with peace of mind. In the reader’s mind, the hero remains lonely and unhappy, a man of unfulfilled aspirations and unfulfilled destiny. This to a certain extent brings him closer to Bazarov. Bazarov is the product of the vices of the older generation, his philosophy is the denial of the life attitudes of the “fathers”. Turgenev shows that absolutely nothing can be built on negation, because the essence of life lies in affirmation, not negation.
Duel of Bazarov and Pavel Petrovich. For the insult inflicted on Fenechka, Pavel Petrovich challenged Bazarov to a duel. This is also the conflict point of the work. The duel completed and exhausted his social conflict, for after the duel Bazarov would forever part with both the Kirsanov brothers and Arkady. She, putting Pavel Petrovich and Bazarov in a situation of life and death, thereby revealed not the individual and external, but the essential qualities of both. The true reason for the duel was Fenechka, in whose features Kirsanov Sr. found similarities with his fatal beloved Princess R. and whom he also secretly loved. It is no coincidence that both antagonists have feelings for this young woman. Unable to tear true love out of their hearts, they try to find some kind of surrogate for this feeling. Both heroes are doomed people. Bazarov is destined to die physically. Pavel Petrovich, having settled Nikolai Petrovich’s marriage with Fenechka, also feels like a dead man. The moral death of Pavel Petrovich is the passing of the old, the doom of the obsolete.
Arkady Kirsanov. In Arkady Kirsanov, the unchanging and eternal signs of youth and youth with all the advantages and disadvantages of this age are most openly manifested. Arkady’s “nihilism” is a living play of young forces, a youthful feeling of complete freedom and independence, an ease of attitude towards traditions and authorities. The Kirsanovs are equally far from both the noble aristocracy and the commoners. Turgenev is interested in these heroes not from a political, but from a universal human point of view. The ingenuous souls of Nikolai Petrovich and Arkady maintain simplicity and everyday unpretentiousness in an era of social storms and catastrophes.
Pseudo-nihilists Kukshin and Sitnikov. Bazarov is lonely in the novel; he has no true followers. His imaginary comrades-in-arms cannot be considered as successors to the hero’s work: Arkady, who after his marriage completely forgets about his youthful passion for fashionable freethinking; or Sitnikova and Kukshina - grotesque images, completely devoid of the charm and conviction of the “teacher”.
Kukshina Avdotya Nikitishna is an emancipated landowner, pseudo-nihilist, cheeky, vulgar, downright stupid. Sitnikov is a pseudo-nihilist, recommended to everyone as Bazarov’s “student”. He tries to demonstrate the same freedom and sharpness of judgment and actions as Bazarov. But the resemblance to the “teacher” turns out to be parodic. Next to the truly new man of his time, Turgenev placed his caricature “double”: Sitnikov’s “nihilism” is understood as a form of overcoming complexes (he is ashamed, for example, of his father, a tax farmer, who makes money by soldering the people, at the same time he is burdened by his human insignificance ).
Bazarov's worldview crisis. Denying art and poetry, neglecting the spiritual life of man, Bazarov falls into one-sidedness, without noticing it. Challenging the “damned barchuks,” the hero goes too far. His denial of “your” art develops into a denial of art in general; the denial of “your” love - into the assertion that love is a “feigned feeling”, explainable only by the physiology of the sexes; denial of sentimental noble love for the people - into contempt for the peasant. Thus, the nihilist breaks with the eternal, enduring values of culture, putting himself in a tragic situation. Failure in love led to a crisis in his worldview. Two mysteries arose before Bazarov: the mystery of his own soul and the mystery of the world around him. The world, which seemed simple and understandable to Bazarov, becomes full of secrets.
So is this theory needed by society and is it necessary to him this type of hero like Bazarov? The dying Eugene tries to reflect on this with bitterness. “Is Russia necessary... no. apparently not needed,” and asks himself the question: “And who is needed?” The answer is unexpectedly simple: a shoemaker, a butcher, a tailor are needed, because each of these invisible people does their job, working for the good of society and without thinking about high goals. Bazarov comes to this understanding of the truth on the threshold of death.
The main conflict in the novel is not the dispute between “fathers” and “children”, but internal conflict As experienced by Bazarov, the demands of living human nature are incompatible with nihilism. Being a strong personality, Bazarov cannot renounce his convictions, but he is also unable to turn away from the demands of nature. The conflict is insoluble, and the hero is aware of this.
Death of Bazarov. Bazarov's beliefs come into tragic conflict with his human essence. He cannot renounce his convictions, but he cannot strangle the awakened person within himself. For him there is no way out of this situation, and that is why he dies. The death of Bazarov is the death of his doctrine. The hero's suffering, his untimely death is a necessary payment for his exclusivity, for his maximalism.
Bazarov dies young, without having time to begin the activity for which he was preparing, without completing his work, alone, without leaving behind children, friends, like-minded people, not understood by the people and distant from them. His enormous strength is wasted in vain. Bazarov's gigantic task remained unfulfilled.
The death of Bazarov revealed the author's political views. Turgenev, a true liberal, a supporter of the gradual, reformist transformation of Russia, an opponent of any revolutionary explosions, did not believe in the prospects of the revolutionary democrats, could not pin high hopes on them, perceived them as a great force, but transitory, believed that they would very soon go away historical arena and will give way to new social forces - gradualist reformers. Therefore, the democratic revolutionaries, even if they were smart, attractive, honest, like Bazarov, seemed to the writer to be tragic loners, historically doomed.
The dying scene and the scene of Bazarov's death are the most difficult test for the right to be called a man and the most brilliant victory of the hero. “To die as Bazarov died is the same as to accomplish a great feat” (D. I. Pisarev). Such a person who knows how to die calmly and firmly will not retreat in the face of an obstacle and will not cower in the face of danger.
The dying Bazarov is simple and humane, there is no longer any need to hide his feelings, he thinks a lot about himself and his parents. Before his death, he calls Odintsova to tell her with sudden tenderness: “Listen, I didn’t kiss you then... Blow on the dying lamp and let it go out.” The very tone of the last lines, the poetic rhythmic speech, the solemnity of the words, sounding like a requiem, emphasize the author’s loving attitude towards Bazarov, the moral justification of the hero, regret for a wonderful person, the thought of the futility of his struggle and aspirations. Turgenev reconciles his hero with eternal existence. Only nature, which Bazarov wanted to turn into a workshop, and his parents, who gave him life, surround him.
The description of Bazarov’s grave is a statement of the eternity and greatness of nature and life in comparison with the vanity, temporality, futility of social theories, human aspirations to know and change the world, and human mortality. Turgenev is characterized by subtle lyricism, this is especially evident in his descriptions of nature. In landscape, Turgenev continues the traditions of the late Pushkin. For Turgenev, nature as such is important: aesthetic admiration of it.
Critics about the novel.“Did I want to scold Bazarov or praise him? I don’t know that myself, because I don’t know whether I love him or hate him!” “My whole story is directed against the nobility as an advanced class.” “The word “nihilist” I released was used then by many who were only waiting for an opportunity, a pretext to stop the movement that had taken over Russian society...” “I dreamed of a gloomy, wild, large figure, half grown out of the soil, strong, evil, honest - and yet doomed to destruction because it still stands on the threshold of the future” (Turgenev). Conclusion. Turgenev shows Bazarov in a contradictory way, but he does not seek to debunk him or destroy him.
In accordance with the vectors of the struggle of social movements in the 60s, points of view on Turgenev’s work were also built. Along with the positive assessments of the novel and the main character in Pisarev’s articles, negative criticism was also heard from the ranks of the democrats.
Position of M.A. Antonovich (article “Asmodeus of our time”). A very harsh position that denies the social significance and artistic value of the novel. In the novel “... there is not a single living person or living soul, but all are only abstract ideas and different directions, personified and called by proper names.” The author is not friendly towards the younger generation and “he gives complete preference to fathers and always tries to elevate them at the expense of the children.” Bazarov, in Antonovich’s opinion, is a glutton, a chatterbox, a cynic, a drunkard, a braggart, a pathetic caricature of youth, and the whole novel is slander against the younger generation.” Dobrolyubov had already died by this time, and Chernyshevsky was arrested, and Antonovich, who primitively understood the principles of “real criticism,” accepted the original author’s plan for the final artistic result.
The liberal and conservative part of society perceived the novel more deeply. Although there were some extreme judgments here too.
Position of M.N. Katkov, editor of the magazine “Russian Herald”.
“How ashamed Turgenev was to lower the flag in front of the radical and salute him as before an honored warrior.” “If Bazarov is not elevated to apotheosis, then one cannot help but admit that he somehow accidentally ended up on a very high pedestal. It really overwhelms everything around it. Everything in front of him is either rags or weak and green. Is this the kind of impression you should have wanted?” Katkov denies nihilism, considering it a social disease that must be fought by strengthening protective conservative principles, but notes that Turgenev puts Bazarov above everyone else.
The novel as assessed by D.I. Pisarev (article “Bazarov”). Pisarev gives the most detailed and thorough analysis of the novel. “Turgenev does not like merciless denial, and yet the personality of the merciless denier emerges as a strong personality and inspires involuntary respect in every reader. Turgenev is prone to idealism, and yet none of the idealists depicted in his novel can compare with Bazarov either in strength of mind or strength of character.”
Pisarev explains the positive meaning of the main character, emphasizes the vital importance of Bazarov; analyzes Bazarov’s relationships with other heroes, determines their attitude towards the camps of “fathers” and “sons”; proves that nihilism got its start precisely on Russian soil; determines the originality of the novel. D. Pisarev’s thoughts about the novel were shared by A. Herzen.
The most artistically adequate interpretation of the novel belongs to F. Dostoevsky and N. Strakhov (Time magazine). Views of F.M. Dostoevsky. Bazarov is a “theorist” who is at odds with “life”, a victim of his dry and abstract theory. This is a hero close to Raskolnikov. Without considering Bazarov's theory, Dostoevsky believes that any abstract, rational theory brings suffering to a person. Theory breaks down in reality. Dostoevsky does not talk about the reasons that give rise to these theories. N. Strakhov noted that I. S. Turgenev “wrote a novel that is neither progressive nor retrograde, but, so to speak, eternal.” The critic saw that the author “stands for the eternal principles of human life,” and Bazarov, who “shuns life,” meanwhile “lives deeply and strongly.”
The point of view of Dostoevsky and Strakhov is fully consistent with the judgments of Turgenev himself in his article “About “Fathers and Sons”,” where Bazarov is called a tragic person.
Evgeny Bazarov chose to defend the ideas of nihilism. The main character of the novel is I.S. Turgenev's "Fathers and Sons" is the young nihilist Evgeny Bazarov. As we read, we learn the ideas of this movement.
Our hero followed in the footsteps of his father, a county doctor. But living in the mid-nineteenth century, he was a supporter, like all young people, of the ideas of nihilism. He adheres to the belief that a person needs to know only sciences that bring sense. For example, exact sciences: mathematics, chemistry. He defends his point of view that a decent mathematician or chemist is more useful than some poet! And poetry is the entertainment and fantasy of rich slackers. It clearly demonstrates the denial of love for living objects of nature. And he is increasingly moving away from his family and good friends.
He believes that there are physiological processes that drive the behavior of all people. Ideas flourish in his thoughts that
He is persistent in his work, works constantly, and gives his all to his patients. While performing his work duties, he experiences a feeling of joy. Among the people who encountered him in the hospital, he enjoyed authority and respect. The sick children around him liked him.
And then comes the tragic moment - the death of Bazarov. There is a huge meaning behind this event. The cause of death is blood infection. And now, left completely alone, he begins to experience anxiety. He is tormented by internal conflicting feelings towards negative ideas. And he began to understand the importance of parental support and participation. That they are getting old and need their son’s help and love.
He boldly looked death in the face. He showed strong self-confidence. He felt both fear and lack of human attention. Scientific discoveries and his knowledge of medicine did not help him. Natural viruses and their incurable progression took over his life.
A good person who helps people took on the disease. He is tormented by doubts that he has not accomplished everything on earth. In this work, he heroically fights for life. An excellent doctor and a kind person.
I like this character. Before his death, he reconsiders his attitude towards nature, family, and his loved one. He realizes that he is still not married. Odintsova comes to him, and he confesses his love to her. He asks for forgiveness from his parents and begins to think about God. He doesn’t want to die, he believes that he could still serve Russia. But, alas, his ideal is that medicine is powerless.
The main character of I. S. Turgenev’s novel “Fathers and Sons” is the young and educated Evgeny Bazarov. The guy considers himself a nihilist; he denies the existence of God and any human feelings. Bazarov studied natural sciences, he believed that people should devote more time to such sciences as physics, chemistry and mathematics, and in poets he saw only lazy and uninteresting people.
Evgeny Vasilyevich Bazarov was born into a family where his father worked all his life as a district doctor. Bazarov believes that man has unlimited power, so he believed that he had the power to reject all previous experience of humanity and live according to his own understanding. Bazarov considered the main purpose of nihilists to be to destroy all the misconceptions of their ancestors. Without any doubt, it is clear that Bazarov is quite smart and has enormous potential; according to the author himself, the hero’s beliefs are incorrect and even dangerous, they contradict the laws of life.
Over time, Bazarov begins to become convinced that for a long time he was mistaken in his beliefs. The first blow for him was the sudden outbreak of feelings for the young and beautiful Anna Sergeevna, at first the guy simply admired the beauty of the girl, and then he caught himself thinking that he had some feelings for her. The hero was afraid of the inexplicable, he did not understand what was happening to him, because a convinced nihilist rejected the existence of love. Love made him rethink his faith, he was disappointed in himself, he realized that he was a simple person who could be controlled by feelings. This discovery crippled Bazarov, he did not know how to continue to live, the guy goes home to try to forget the girl.
In his parents' house, a fateful event happens to him. Bazarov performed an autopsy on a patient who died from a terrible disease called typhus; he later became infected himself. Lying in bed, Bazarov realized that he had only a few days left. Before his death, the guy completely convinces himself that, after all, he was wrong in everything, that it is love that brings great meaning to a person’s life. He understands that in his entire life he has not done anything useful for Russia, and an ordinary hard worker, a butcher, a shoemaker or a baker has brought more benefit to the country. Evgeniy asks Anna to come to say goodbye. Despite the dangerous illness, the girl immediately goes to her beloved.
Bazarov is an intelligent, strong and gifted person who strived to live and work for the good of the country. However, with his wrong beliefs, belief in nihilism, he renounced all the main values of humanity, thereby destroying himself.
"Fathers and Sons" is a novel that was published in 1861. It was quite a difficult time for Russia. Changes were taking place in the country, and the people were divided into two halves. There were Democrats on one side and liberals on the other. But, regardless of the ideas of each side, they understood that Russia requires change in any case.
This work by Turgenev has a sad ending, the main character dies. In this work, the author felt new traits in people, but he could not understand one thing: how these characters would act. The main character Bazarov meets death at a very young age. Bazarov is a straightforward person and always knows how to insert a certain amount of sarcasm into his speech. But when the hero felt that he was dying, he changed. He became kind, he became polite, he completely contradicted his beliefs.
It becomes noticeable that Bazarov is very sympathetic to the author of the work. This becomes especially clear when the time comes for Bazarov to die. During the death of the hero, his essence, his true character becomes visible. Bazarov is in love with Odintsova, but this does not affect him in any way before his death. He is still brave, selfless, the hero is not afraid of death. Bazarov knows that he will soon leave for another world and has no worries at all about the people who will remain. He doesn't worry about unfinished business or questions. Why does the author show the reader the death of the hero? The main thing for Turgenev was to show that Bazarov was an unconventional person.
The author's main idea is love and fearlessness before the moment of death. Turgenev also did not miss the theme of sons’ respect for their parents. The main thing is that Bazarov is on the verge of breaking down, but he is not defeated. It is interesting that even after his death, the main character has not changed some of his principles. He is dead and still cannot perceive religion, it is not acceptable to him.
The moment of Bazarov’s farewell to Odintsova is constructed very clearly and in contrast. The author emphasizes the living woman and the man who is dying. Turgenev emphasizes the poignancy of the scene. Anna is young, beautiful, bright, and Bazarov is like a half-crushed worm.
The ending of the work is truly tragic. After all, there is no other way to call it, a very young man is dying, and besides, he is in love. It’s sad, of course, that death cannot be deceived or avoided; nothing at all depends on the person himself. It’s quite hard on your soul when you read the final scene of Turgenev’s work.
Ivan Sergeevich Turgenev is a classic of Russian literature and a true master of the pen. In terms of beauty and picturesque descriptions, only Nabokov and Tolstoy can compare with him. Turgenev’s life’s work is the novel “Fathers and Sons,” the main character of which, Evgeniy Bazarov, is a reflection of a new, just emerging type of people in the Russian Empire. The main character of the novel dies at the end of the work. Why? I will answer this question in my essay.
So, Bazarov is a nihilist (a person who does not recognize authorities and denies everything old, traditional). He studies at the university at the Faculty of Natural Sciences, studying the world around him. Bazarov denies everything: art, love, God, the aristocracy of the Kirsanov family and the foundations that have developed in society.
The storyline of the work pits Bazarov against Pavel Petrovich Kirsanov - a man of truly liberal views, this was not done by chance: this is how Turgenev shows the political struggle of revolutionary democracy (represented by Bazarov) and the liberal camp (represented by the Kirsanov family).
Next, Bazarov meets Anna Sergeevna Odintsova, a girl who is very well-read and knowledgeable in matters not only of fashion, but also of science, and also with a strong character. This amazes Bazarov, he falls in love. And after she refuses him, he goes to his parents on the estate and dies there from blood poisoning. It would seem like an ordinary story, but it is still classic Russian literature, and Bazarov’s death is quite understandable. Bazarov, a man who denied everything, including love, finds himself in a position where he himself loves another person: he is tormented by contradictions, he begins to see reality as it really is.
It was the destruction of Bazarov’s main principle - the denial of love - that killed Bazarov. A person who literally breathed nihilism can no longer live in his illusion, having encountered such a strong feeling. Turgenev needs the destruction of Bazarov’s principles and his sudden death in order to show Bazarov’s uselessness in this society.
In conclusion, I would like to say that the destruction of Bazarov’s principles on the part of Turgenev can be perceived in two ways: on the one hand, this is a reflection of reality as Turgenev saw it, on the other hand, this is Turgenev’s political nature, because Turgenev himself was a liberal and drawing the line that a liberal Arkady lives happily, and the democratic revolutionary Bazarov died, this suggests that Turgenev expressed his political position through opposition, calling himself right. For what purpose was it necessary to kill Bazarov, only history knows the answer to this question...
We waited three days for a real battle. Moscow is already behind us, where to retreat? It was quiet that evening. We were bored, rested, and gained strength. I sharpened the bayonet, and, of course, grumbled. How can one not be indignant when this enemy, the Frenchman, is already celebrating victory?
These heroes are completely different in all respects. By worldview, upbringing, character, in the desire to earn their place in the sun. Molchalin accepts flattery, humiliation and all the basest qualities of a person
There is no doubt that music is an integral part of our lives. Amazing and bewitching, she penetrates into the quietest and most secret corners of the human soul
The work is one of the parts of the writer’s prose collection entitled “Notes of a Hunter”, which as the main theme examines Russian life in the context of a person’s relationship to his native land.
Man is the only rational being in the natural world. He is a perfect creation of nature. Is man really the king of nature?
“...And I also thought: I’ll screw up a lot of things, I won’t die, no matter what! There is a task, because I am a giant! And now the giant’s whole task is to die decently, although no one cares about this..”
I.S. Turgenev
Decor. Write down the topic of the lesson on the board: “The social doom of Bazarov.”
(Checking homework)
A selection of phrases and text that prove Bazarov’s loneliness, his doom in society.
First group.
Bazarov and the Kirsanov brothers (break for ideological reasons).
Chapter 10, 6: – You are destroying everything “But you also need to build.”
- This is no longer our business. First you need to clear the place.
– I don’t understand how you can not recognize principles!
– At the present time, denial is the most useful thing.
Second group.
Bazarov and Odintsova (unrequited love).
Chapter 26:“apparently, Bazarov is right, curiosity, just curiosity, and love of peace, selfishness...;
Third group.
Kukshina and Sitnikov - Bazarov (vulgarity and insignificance).
Chapter 19:“I need rumors like this. It’s not for the gods to burn pots!”
Fourth group.
Bazarov and Arkady (denial of friendship - Arkady’s softness).
Chapter 26:“We say goodbye forever, and you know it yourself, you feel it, you’re a nice guy, but you’re still a soft, liberal gentleman.”
Fifth group.
Bazarov and parents (people of different generations, different development).
Chapter 21:
“I'll leave tomorrow. It’s boring, I want to work, but I can’t do it here.”
“He got bored with us. One is now like a finger, one!”
– Who does Bazarov consider himself close to? In whom he finds understanding, in his opinion (with the people).
- Is it really?
(Individual homework)
Bazarov believes that he speaks the same language with the people, considers himself close to them. “My grandfather plowed the land.” However, he himself is a master for his men, and they do not understand and do not want to understand him.
Bazarov looks down on the people, in some places even despises them; with such feelings there can be no mutual understanding.
- So why does Turgenev condemn him to death?
(He considers him doomed. Two reasons: loneliness in society and the internal conflict of the hero. The author shows how Bazarov remains lonely.)
– But Turgenev does not just state death, he assigns special significance to the episode of death. Which? We will discuss this after reading the text.
Chapter 27:
Conclusion:
Why does Turgenev end the novel with the death scene of the hero, despite his superiority over other heroes?
Bazarov dies from an accidental cut of his finger, but death, from the author’s point of view, is natural. Turgenev defines the figure of Bazarov as tragic and “doomed to death.”
Turgenev loved Bazarov very much and repeated many times that Bazarov was “clever” and a “hero”. The author wanted the reader to fall in love with Bazarov (but by no means Bazarovism) with his rudeness, heartlessness, and ruthless dryness.
Homework.
Write a creative work.
I option.
Episode analysis. Chapter 27, from the words “Bazarov suddenly turned around on the sofa...”
Option II.
Episode analysis. Chapter 27, from the words “She looked at Bazarov... and stopped at the door...”
Episode analysis.
Algorithm of work in the lesson.
The role of the episode of Bazarov’s death, analysis of the episode from the novel.
Turgenev “Fathers and Sons”.
Episode is a Greek word that has three interpretations: “Accident”, “Insertion”, “Stranger”. The explanatory dictionary distinguishes two meanings:
When working with an episode, the main attention should be paid to understanding its artistic features, in other words, to offer a path from artistic features to problems, and not vice versa. In other words, with this method of analysis, the student learns to “read” everything from the text, and not to illustrate with text provisions taken from unknown sources (at best, from the words of the teacher or from a textbook).
Trial by death. Bazarov will also have to go through this last test in parallel with his antagonist. Despite the successful outcome of the duel, Pavel Petrovich died spiritually long ago. Parting with Fenechka severed the last thread that tied him to life: “Illuminated by bright daylight, his beautiful, emaciated head lay on a white pillow, like the head of a dead man... Yes, he was a dead man.” His opponent also passes away.
There are surprisingly persistent references in the novel to an epidemic that spares no one and from which there is no escape. We learn that Fenechka’s mother, Arina, “died of cholera.” Immediately after Arkady and Bazarov arrived at the Kirsanov estate, “the best days of the year arrived,” “the weather was beautiful.” “True, cholera threatened again from afar,” the author says meaningfully, “but the residents of the ***…province managed to get used to its visits.” This time cholera “pulled out” two peasants from Maryino. The landowner himself was in danger - “Pavel Petrovich suffered a rather severe seizure.” And again the news does not amaze, does not frighten, does not alarm Bazarov. The only thing that hurts him as a doctor is the refusal to help: “Why didn’t he send for him?” Even when his own father wants to tell “a curious episode of the plague in Bessarabia,” Bazarov decisively interrupts the old man. The hero behaves as if cholera poses no danger to him alone. Meanwhile, epidemics have always been considered not only the greatest of earthly misfortunes, but also an expression of God's will. The favorite fable of Turgenev’s favorite fabulist Krylov begins with the words: “The fiercest scourge of heaven, nature’s horror - pestilence rages in the forests.” But Bazarov is convinced that he is building his own destiny.
“Every person has his own destiny! - the writer thought. - Just as clouds are first composed of the vapors of the earth, rise from its depths, then separate, become alienated from it and finally bring grace or death to it, so a cloud is formed around each of us.<…>a type of element that then has a destructive or salutary effect on us<…>. To put it simply: everyone makes their own destiny and it makes everyone…” Bazarov understood that he was created for the “bitter, tart, bovine” life of a public figure, perhaps a revolutionary agitator. He accepted this as his calling: “I want to tinker with people, even scold them, and tinker with them,” “Give us others!” We need to break others!” But what to do now, when previous ideas have been rightly questioned, and science has not answered all the questions? What to teach, where to call?
In “Rudin”, the insightful Lezhnev noticed which idol most likely “acts on young people”: “Give them conclusions, results, even if they are incorrect, but results!<…>Try to tell the youth that you cannot give them the full truth because you do not have it yourself.<…>, young people won’t even listen to you...>. It is necessary that you yourself<…>believed that you had the truth...” And Bazarov no longer believes. He tried to find the truth in a conversation with the man, but nothing happened. Too condescendingly, lordly and arrogantly, the nihilist turns to the people with a request to “explain their views on life.” And the man plays along with the master, appearing to be a stupid, submissive idiot. It turns out that it’s not worth sacrificing your life for this. Only in a conversation with a friend does the peasant relieve his soul, discussing the “clown of a pea”: “It is known, master; does he really understand?
What remains is work. Helping my father with a tiny estate consisting of several peasant souls. One can imagine how small and insignificant all this must seem to him. Bazarov makes a mistake, also small and insignificant - he forgets to cauterize the cut on his finger. A wound received from dissecting the decomposing corpse of a man. “A democrat to the core,” Bazarov intervened in the lives of the people boldly and self-confidently<…>, which turned against the “healer” himself. So can we say that Bazarov’s death was accidental?
“To die the way Bazarov died is the same as having accomplished a great feat,” noted D.I. Pisarev. One cannot but agree with this observation. The death of Evgeny Bazarov, in his bed, surrounded by relatives, is no less majestic and symbolic than the death of Rudin on the barricade. With complete human composure, briefly as a doctor, the hero states: “...My case is crappy. I’m infected, and in a few days you’ll be burying me...” I had to become convinced of my human vulnerability: “Yes, go and try to deny death. She denies you, and that’s it!” “It’s all the same: I won’t wag my tail,” declares Bazarov. Although “no one cares about this,” the hero cannot afford to sink - while “he has not yet lost his memory<…>; he was still struggling.”
The proximity of death for him does not mean abandoning his cherished ideas. Such as the atheistic rejection of God's existence. When the religious Vasily Ivanovich, “down on his knees,” begs his son to make confession and be cleansed of sins, he outwardly carefree replies: “There’s no need to rush yet...” He is afraid of offending his father with a direct refusal and only asks to postpone the ceremony: “After all, even the unconscious are given communion … I'll wait". “When he was unctioned,” says Turgenev, “when the holy myrrh touched his chest, one of his eyes opened and, it seemed, at the sight of the priest<…>, censer, candles<…>something similar to a shudder of horror was instantly reflected on the dead face.”
It seems like a paradox, but death in many ways frees Bazarov and encourages him to no longer hide his real feelings. Now he can simply and calmly express his love for his parents: “Who is crying there? …Mother? Will she feed anyone now with her amazing borscht?..” Affectionately teasing, he asks the grief-stricken Vasily Ivanovich to be a philosopher even in these circumstances. Now you can not hide your love for Anna Sergeevna, ask her to come and take his last breath. It turns out that you can let simple human feelings into your life, but at the same time not “fall apart”, but become spiritually stronger.
The dying Bazarov utters romantic words with which he expresses true feelings: “Blow on the dying lamp and let it go out...” For the hero, this is an expression of only love experiences. But the author sees more in these words. It is worth recalling that such a comparison came to Rudin’s lips on the verge of death: “...It’s all over, and there is no oil in the lamp, and the lamp itself is broken, and the wick is about to finish smoking...” In Turgenev, a tragically cut short life is likened to a lamp, like in the old poem:
Burned like a midnight lamp before the shrine of goodness.
Bazarov, who is leaving his life, is hurt by the thought of his uselessness, uselessness: “I thought: I won’t die, no matter what! There is a task, because I am a giant!”, “Russia needs me... no, apparently I don’t!.. A shoemaker is needed, a tailor is needed, a butcher...” Likening him to Rudin, Turgenev recalls their common literary “ancestor,” the same selfless wanderer Don- Quixote. In his speech “Hamlet and Don Quixote” (1860), the author lists the “generic traits” of Don Quixote: “Don Quixote is an enthusiast, a servant of the idea, and therefore is surrounded by its radiance,” “He lives entirely outside himself, for his brothers, to exterminate evil, to counteract forces hostile to humanity.” It is easy to see that these qualities form the basis of Bazarov’s character. According to the largest, “quixotic” account, his life was not lived in vain. Let Don Quixotes seem funny. It is precisely this kind of people, according to the writer, who move humanity forward: “If they are gone, let the book of history be closed forever: there will be nothing to read in it.”
